In the literature, inversion is usually called a violation of the usual word order. Inversion is not common to all languages. For example, in the English language there is a strictly fixed word order, and there inversion can only be found in the rarest poetry created a couple of centuries ago. In the Russian language, inversion is all over the place. An example of inversion in Russian: it is unfortunate for me to disturb your peaceful peace. It would be more correct to say this: disturb your peaceful rest.

In literature, inversion is the construction of words in a sentence with the reverse order. Examples from the classics: A lonely sail whitens in the fog of the blue sea, What was this warm, this sleeping night waiting for? She (Turgenev) was waiting for the sound.

In fiction, writers often resort to the use of tropes and stylistic figures that enhance the imagery of speech and its impact on the reader or listener. One of these stylistic figures is inversion, which literally means turning over in Latin. This stylistic device consists of violating the direct order of words in a sentence:

definition - subject - predicate - adverbial or complement.

The technique of rearranging the members of a sentence focuses attention on a certain word, distinguishes it from others and creates exactly the impact that the writer seeks.

One of the most common types of inversion is when the definition is placed after the word being defined, for example:

Inversion between subject and predicate is often used, for example we read in S.:

The object, especially the direct one in the accusative case, usually comes after the predicate. The rearrangement creates an inversion in the poems of M. Lermontov:

This is how the poet put it, bringing the main word forward instead of waiting for the battle.

Inversion in literature is a violation of the usual word order in a sentence. From the Latin inversio - rearrangement, turning over. Inversion can highlight one or more words emphatically:

Can anything compare in my poems?

With the most tender tears of a mother

(V.A. Zhukovsky)

Also, inversion can be broken up by inserted words and phrases...

Inversion examples:

Exhausted by the labors of the night

I lie in the shadows (M.Yu. Lermontov Mtsyri);

His sharpness and subtlety of instinct amazed me (A.S. Pushkin) - I was struck by his sharpness and subtlety of instinct;

From the grave then the emperor,

Waking up suddenly appears (M.Yu. Lermontov Airship);

How I love her in the first days,

When there is only talk about lka (B. Pasternak);

Why does the old man seem to me?

The roofs of the huts are piled in a tar sleep.

And the glow smokes, and the mothers shout:

The blood of the children covered the tablecloths in the chambers,

And the warriors lie, and on them there are crows,

Their pupils are glazed through the bloody coat (S. Kirsanov Two dreams);

It was getting late. Trembling in the horses

The cold is worse at night;

Tossed and turned in the sleigh

Mikhailo Ivanovich.

... They came running that time

Coachman and counselor (N. Nekrasov);

I, Mother of God, now with prayer

Before your image, bright radiance... (M.Yu. Lermontov).

In the Russian literary language (and in Russian literature in particular) we see texts consisting of sentences.

In these sentences (and now we will first of all talk about narrative sentences), experts distinguish two types of word arrangement. Two orders:

1 .Direct (or neutral).

For example, from Dead Souls:

2 .Reverse (inverse).

For example, from the Fountain of the Bakhchisarai Palace:

Instead of a neutral order: Pale luminary of the harem, are you really forgotten here too?

The second example is a mild syntactic inversion, which occurs very often.

Inversion is primarily used to add high style and emphasize individual words; or technically: to maintain the rhythm of lines in poetry.

Inversion is nothing more than the replacement of words with each other that had meaning, but have become clumsy. I really like Vasily Zhukovsky’s inversion, probably one of the best that you can’t do for the sake of rhyme:

Inversion is a figure of speech, which is characterized by the rearrangement of sentence members (subject and predicate most often) to uncharacteristic places in order to give the sentence as a whole a greater emotional coloring.

Inversion is (lat. inversio rearrangement, turning over) the arrangement of the members of a sentence in a special order, violating the usual (direct) order, in order to enhance the expressiveness of speech. Inversion is one of the stylistic figures. Bear hunting is dangerous, a wounded animal is terrible, and the soul of a hunter, accustomed to dangers since childhood, is brave. The moon came out on a dark night, looking lonely from a black cloud at the deserted fields, at distant villages, at nearby villages.

The term inversion comes from inversio, meaning rearrangement. Inversion is a stylistic figure when words or entire parts of phrases are not placed in the generally customary and accepted position, but are placed in the reverse order. This gives the text special expressiveness.

Inversion example

He ascended higher with his rebellious head

Pillar of Alexandria... or

It is not the place to compete with stupidity.

And on the sign is another example of inversion.

An inversion is a prim in poetry or narrative - a rearrangement or narration. With inversion, the usual word order in the construction of a sentence changes.

In poems, for example, he happily reached the green shores of the bright Aragva (Lermontov). Here the subject and predicate are rearranged, the words in the verse are arranged rhythmically in such a way that the rhythm of the verse is not affected. A striking example of recent inversion is present in the texts of the Star Wars character - Master Yoda))) Just take his sentence in the first part (or second - I don’t remember exactly) - When you are 900 years old, you won’t look so good)))

In general, in English, such a rearrangement transforms a sentence from a declarative into an interrogative.

Inversion in literature is a violation of the usual word order. Derived from the Latin inversio, which translates as turning over, rearranging. In the Russian language, this is a fairly common phenomenon, since our grammar does not have a strict word order.

As an example of inversion:

Can anything compare in my poems?

With the most tender tears of a mother?

WHAT is inversion in Russian? and got the best answer

Answer from Free soul[guru]
Inversion (from Latin inversio - rearrangement, turning over) is a rearrangement of the syntactic components of a sentence, violating their usual order and leading to semantic or emotional emphasis on words. The scope of the concept “I. " depends on understanding the usual word order. In the narrow and most precise sense, I. is a rearrangement that violates the stylistically neutral word order. This is the setting of a rhema (see Actual division of a sentence) before the topic (Nice summer evenings!) - the so-called. subjective word order (see Word Order) or such a rearrangement of the components of phrases that stylistically colors the sentence (He dug up worms, brought fishing rods). In a broader and less definite meaning, I. often refers to any rearrangement, including those associated with changes in the actual division of a sentence, as well as any unusual word order in poetic speech compared to prosaic speech: “The pattern of your fences is cast iron” (Pushkin ) (compare with the “prosaic” word order: The cast-iron pattern of your fences). I. I. Kovtunova.

Answer from Yves[guru]
this is the reception.

Answer from 3 answers[guru]

Hello! Here is a selection of topics with answers to your question: WHAT is inversion in Russian?

INVERSION
Meaning:

INVERSION

(lat.). Transformation in general and especially transformation. sugars into glucose and fructose.

(Source: “Dictionary of foreign words included in the Russian language.” Chudinov A.N., 1910)

INVERSION

(Latin inversio - turning over, rearranging) - 1) linguistic. changing the usual order of words in a sentence in order to enhance the expressiveness of speech. Wed. hyperbaton. 2) mat. in combinatorics: violation of the normal order of two elements in a permutation; in geometry: a special type of mapping of a plane or space by means of inverse radii, in which circles and spheres turn into circles and spheres.

(Source: “Dictionary of Foreign Words”. Komlev N.G., 2006)

INVERSION

in chemistry, transformation, for example, the transformation of cane sugar by means of various acids into a syrup from grape sugar (glucose) and fruit juice.

(Source: “Complete dictionary of foreign words that have come into use in the Russian language.” Popov M., 1907)

Compiled dictionary of foreign words of the Russian language

Meaning:

inv e Russia

1) Changing the usual word order in a sentence for semantic or stylistic purposes.

2) An increase in air temperature in the upper layers of the atmosphere instead of the usually observed decrease.

3) Conversion of complex types of sugar into less complex ones in an aqueous environment under the influence of acids or enzymes.

Modern explanatory dictionary ed. "Great Soviet Encyclopedia"

INVERSION

Meaning:

in biology - a type of chromosomal rearrangement (mutation), consisting of a break and 180o rotation of one of the internal sections of the chromosome.---(from the Latin inversio - rearrangement), in linguistics - a change in the usual order of words and phrases that make up a sentence; is usually used to highlight one or another element of a sentence or to give a special meaning to a sentence. --- in mathematics -1) in geometry, inversion with respect to a given circle (or sphere) of radius R with center O - a transformation in which point P goes to point P "lying on the ray OR at a distance OR" = R2/OR from the center O...2) In combinatorics, inversion is a violation of the normal order of two elements in a permutation of the geomagnetic field, a change in the direction (polarity) of the Earth's magnetic field to the opposite is observed at time intervals from 500 thousand years to 50 million years. In our era (the era of normal polarity), the south magnetic pole is located near the north geographic pole, and in eras of reverse polarity it is near the south geographic pole. The reasons for the inversion have not yet been clarified.

S.I. Ozhegov, N.Yu. Shvedova Explanatory dictionary of the Russian language

inversion

Meaning:

INVERSION, -i, f. (special).

1. Changing the normal position of components, placing them in reverse order. I. geomagnetic field of the Earth. I. temperature(an increase in temperature in one of the layers of the atmosphere instead of a normal decrease).

2. In syntax: a change in the normal (stylistically normal) word order in a sentence, accompanied by a movement of its intonation center.

| adj. inversion, oh, oh.

Dictionary of foreign words

INVERSION

Meaning:

1. linguistic Changing the usual word order in a sentence in order to enhance the expressiveness of speech.||Cf. HYPERBATON, CHIASM.

2. In combination: i n v e r s i a s a k h a r o v ( chem.) - the breakdown of complex sugars into simple ones under the action of acids and enzymes.

3. biol. A type of mutation consisting of a break and a 180 rotation of one of the internal sections of the chromosome.

4. mat. In combinatorics: violation of the normal order of two elements in a permutation.

FEDERAL AGENCY FOR EDUCATION

GOU VPO "PYATIGORSK STATE LINGUISTIC UNIVERSITY"

Faculty of English and Romance Languages

Saenko A.O.

Coursework in philology on the topic:

Types of inversion in modern English

Scientific adviser:

Candidate of Philology

d ots. Marantsman A.B.

Pyatigorsk, 2008

INTRODUCTION........................................................ ........................................... 3

1. Reverse word order or “inversion” in the interpretations of foreign and domestic linguists................................................... ........................................... 4

1.1. Word order in an English sentence................................... 4

1.2. The meaning of reverse word order in an English sentence. 4

2. Inversion as a means of expressiveness.................................... 9

2.1. The influence of inversion on the meaning and stylistic coloring of a sentence.................................................... ........................................................ ........................... 9

2.2. Typical cases of stylistic inversion.................................... 11

CONCLUSION................................................. .................................. 14

BIBLIOGRAPHY................................................. .............................. 16

LIST OF FICTION .............................. 17

INTRODUCTION

The topic of the course work “Types of inversion in modern English” expands the general understanding of the grammatical order of words and simultaneously deepens knowledge of the language, which determines the choice of topic.

The purpose of the work is to explore inverted word order.

The objectives of this study include the following:

1) identify the linguistic essence of inversion;

2) highlight the main types of stylistic inversion;

3) characterize inversion as one of the ways to convey expressiveness;

4) prove that violation of the word arrangement typical for a given language in a given era is an important means of artistic expression.

During the work, methods such as comparative-contrastive, deductive, hypothetical-inductive and descriptive were used.

The research material included examples from fiction and grammar reference books.

1. Reverse word order or “inversion” in the interpretations of foreign and domestic linguists.

1.1. Word order in an English sentence

In English, each member of a sentence, as is known, has a usual place, determined by the method of its syntactic expression, connections with other words and the type of sentence.

Word order is a specific arrangement of words in a sentence, or syntactic group. In English there is direct and reverse, or inverted, word order. It is associated with the morphological structure of the language and performs a number of important functions in the language, both semantic and structural-organizational in nature, which emphasizes the relevance of the chosen topic.

It is interesting to note that the basic word order in an English sentence: subject - predicate - object, was formed under the influence of the need to establish connections between individual sentences in the narrative. The subject took first place in the sentence because in the narrative it usually expressed the “known” of what was said earlier and thereby established a connection between sentences. Thus, historically there has been a fixed word order in English sentences. However, in English sentences there are often deviations from direct word order. We will look at what changes as the word order changes.

1.2. The meaning of reverse word order in an English sentence.

Word order is more important for an English sentence than for a Russian one. In Russian, the function of a word in a sentence is indicated by its ending. Since English is an analytical language, the functions of words in a sentence are determined by their location.

However, it cannot be said that English words can be manipulated as needed. For example, the article and demonstrative pronoun must necessarily precede the noun to which they refer.

In the English language, violating the usual order of the members of a sentence is a way to highlight and endow any element with a special connotation of emotionality or expressiveness. This technique is called inversion. Inversion is determined by the position of syntactically related sentence members relative to each other. Changing the order of words cannot be unlimited; it is subject to certain rules, that is, not all possible placements are used, but only some.

This characterization of inversion as a deviation from “direct word order” is the most general (and generally accepted). Most researchers associate this order practically only with the relative position of the subject and predicate groups: direct. For the English language, a word order is considered in which the subject (subject group) precedes the predicate group (predicate); in the terms of many American as well as English researchers, the “nominal phrase” (NP) precedes the “verbal” (VP) - which, however, does not change the essence of the named view. Inversion, from this point of view, is the reverse sequence VP - NP or, for example, (Vp...) - NP - (...vP) / in brackets - prepositive and postpositive elements of the “discontinuous” verbal component, in the interpretation of supporters of the analysis according to NS/.

“Direct and reverse word order,” wrote Prof. A.I. Smirnitsky, “is determined, first of all, by the relative position of the subject and predicate. In English, as in many other languages, the typical word order is in which the subject precedes predicate... This arrangement of words is usually called direct. At the same time, in modern English there are also cases of reverse word order, in which the subject follows the predicate...".

Naturally, with this approach, structures with an introductory sentence, there are structures with inversion of the verb connective (like “Never had Buck seen such dogs” /J.London/), even interrogative sentences - they are all declared to be syntactic phenomena of the same kind: this is all “reverse word order” (or, which, from this point of view, is the same thing - inversion).

A broader definition is given, for example, by O.S. Akhmanova. Violation of the usual arrangement (order of occurrence) of the constituent words and phrases of a sentence, as a result of which the “rearranged” element of the sentence becomes highlighted and thus attracts attention (acquires a special psychological or stylistic connotation).

Here the concept of inversion is not firmly attached to the group “subject - predicate”. In addition, the definition itself already includes the idea of ​​the function of inverse permutations (“selection”). At the same time, this definition contains one clearly undefined component - “the usual arrangement ... of words and phrases”, which, in relation to each specific model of word order, apparently needs a separate definition. Let's say how to interpret the permutation "It began to rain in the morning" in this case. - "In the morning it began to rain." What here (and in numerous similar cases) is considered the usual word order, and on what basis?

As for the supporters of various modern trends in linguistics (primarily structuralist), when describing the English language they fundamentally refrain from using the term “inversion”. However, they generally try to circumvent (or even discard) the problem of word order (24). To explain some features of English (and other languages) word order that do not fit, say, into the descriptivist scheme “NP - VP,” L. Bloomfield introduced the concept of a “discontinuous component,” which was intended to provide formalization of any kind of distant arrangement of grammatically related members. This concept, however, faces the needs of describing and formalizing all kinds of structural rearrangements (moreover, it does not cover many of them - for example, the rearrangement of a non-extended definition into a postposition); as for explanation or functional characterization, theorists of NS analysis showed no interest in these questions.

The complete opposite to them in this regard are modern researchers of the issues of “syntactic semantics” and “communicative syntax”, who approach the problem of word order in a sentence (one of the key ones in their constructions) precisely from the point of view of its functions and functional conditioning. Many linguists (especially in the Czech Republic and Slovakia, as well as in our country) consider word order in the light of the theory of the so-called actual division of a sentence. Some researchers are generally inclined to the idea of ​​isomorphism between word order and actual division, or, in any case, strive to find in any constructive permutation the function of expressing actual division.

The idea that the placement of a sentence member in one or another syntactic place is determined by its communicative (in some terms - “logical”, “logical-syntactic”, etc.) load was also expressed by some representatives of “traditional” linguistics - for example, L.V. Shcherba, A.I. Smirnitsky (in a work where he was one of the first to point out the function of the expression “lexical subject and lexical predicate” in the English word order and demonstrated it using the example of those constructions that he considered inverse).

2. Inversion as a means of expressiveness

2.1. The influence of inversion on the meaning and stylistic coloring of a sentence.

Some changes in word order change syntactic relationships, and with them the whole meaning of the sentence: When a man wants to kill a tiger he calls it sport; when a tiger wants to kill a man it is ferocity; others combine grammatical and expressive functions. Let's compare: I had known it: Had I known it:: If I had known it, where the second differs from the first in grammatical meaning, and from the third in expressiveness. Finally, changes in word order are possible that do not change the grammatical meaning and are not associated with expressiveness or emotionality, but have a functional and stylistic connotation. These include, for example, placing a preposition at the end of a sentence, which is possible only in a conversational style. Compare: the man of whom I spoke:: the man I spoke of.

It is the conversational style, and especially the familiar conversational style, that is characterized by the emphasis on the emotionally dominant element in the first place (L. Bloomfield’s term):

"Flowers! You wouldn't believe it, madam, the flowers he used to bring me."

"White! He turned as white as a woman."

A special syntactic form of reinforcement in such cases is the construction “it is flowers that”, “it was flowers that”. Such constructions are called emphatic. In the examples considered, the girl first names an object that especially worries her (flowers), names what struck her most in the young man’s reaction (his pallor), and then explains the situation.

In book speech, a similar effect is created, on the contrary, by delay: a psychologically important element is placed at the end of the sentence, which creates some tense anticipation, since the reader does not receive the usual indication of the subject of speech at the beginning of the message.

From the point of view of stylistic analysis, only inversion of an expressive, or emotional, or stylistically functional nature is interesting, and not any unusual placement of words. The convention of dividing into figurative and expressive means is also revealed here. As stated above, syntactic means have primarily an expressive function, but they can also be figurative. Thus, numerous cases of inversion in “Alice’s Adventures in Wonderland” convey the rapidity of action in the events described:

She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah... when suddenly, thump! Thump! down she came upon a heap of sticks and dry leaves, and the fall was over.

Alice was not a bit hurt, and she jumped up on her feet in a moment: she looked up, but it was all dark overhead; before she was another long passage and the white rabbit was still in sight hurrying down it. There was not a moment to be lost: away went Alice like the wind (L.Carroll. Alice in Wonderland).

The inversion in the case of “down she came” and “away went Alice” shows the surprise of the fall and the speed of Alice’s run and is therefore stylistically relevant. The situation is different with the inversion “before she was another long passage”. It is the result of the fact that the sentence begins with an adverbial place. The order of words corresponds to the movement from the given to the new, from topic to rheme, that is, it corresponds to the actual division of the sentence and, therefore, turns out to be stylistically neutral.

In cases where this order is violated, that is, in the initial position of the rheme, it, as a logical predicate, is emphasized by increased stress, which turns the intonation into emphatic. Expressiveness, therefore, arises in this case according to the same principle of discrepancy between the usual and situational signifier.

Here is another example of inversion from classical literature, showing the speed of action and haste in what is happening:

Out came the chaise, in went the horses, on sprang the boys, in got the travelers... (Ch. Dickens).

Inversion can also become expressive in cases where it evokes ideas about those contexts for which the corresponding arrangement of words is usual. So, for example, in English poetry an adjective can not only, as is usual for prose, precede the noun it defines, but also follow it:

Worried by silence, sentries whisper, curious,

nervous. But nothing happens. (T.S. Eliot).

The postposition of an adjective in prose gives the style solemnity, elation, or musicality.

The expressive or functional-stylistic coloring of inversion is characteristic primarily of prose, since in poetry the order of words is subject to the rhythmic-intonation structure of the verse, and the arrangement of the components of syntactic structures is relatively free.

2.2. Typical cases of stylistic inversion.

Emotionality and expressiveness can be conveyed in speech not only by a special choice of words, as discussed above, but also by their special placement.

In English, each member of a sentence, as is known, has a usual place, determined by the method of its syntactic expression, connections with other words and the type of sentence. Violation of the usual order of members of a sentence, as a result of which some element is highlighted and receives special connotations of emotionality or expressiveness; called inversion. Inversion is determined by the position of syntactically related sentence members relative to each other.

Let's look at some typical cases of stylistic inversion.

1. A predicate expressed by a noun or adjective can precede the subject and copular verb: Beautiful those donkeys were! (K. Mansfield. The Lady's Maid). This type of inversion is especially characteristic of colloquial speech, where it is often combined with an ellipse, a dissected question and other features typical of colloquial speech: Artful- wasn't it? (K. Mansfield. The Lady's Maid); Queer how it works out, isn't it? (J.B. Priestley. Dangerous Corner).

A means of highlighting a significant predicate verb is also to place it before the subject, followed by an auxiliary or modal verb: Got must.

2. The direct object for the purpose of emphasis can be put in first place: Her love letters I returned to the detectives for filing (Gr. Greene. End of the Affair).

3. A definition expressed by an adjective or several adjectives, when placed after the defined one, gives the statement solemnity, a somewhat archaic, elevated character, organizes it rhythmically, can be accentuated by adverbs or conjunctions, and even receives a hint of predicativeness: Spring begins with the first narcissus, rather cold and shy and wintry (D.H. Lawrence); In some places there are odd yellow tulips, slender, spiky, and Chinese-looking (D.H. Lawrence).

4. Adverbial words put in first place are not only emphasized themselves, but also accentuate the subject, which in this case is put in last place, and the last place is also an emphatic position: Hallo! Here come two lovers (K. Mansfield); Among them stood tulips (R. Aldington).

Particular liveliness and dynamism of the narrative is created by putting the post-positive in the first place: off they sped, out he hopped, up you go.

Since in a complex sentence the normal order of parts is the precedence of the main sentence, then the means of emphasis can be to put the subordinate clause in first place, as in the words of Robert, who learned the whole truth and was completely desperate: Whether she changes or doesn't "t change now I don"t care ( J.B. Priestley).

Stylistic inversion, which, as indicated above, is subject to certain restrictions depending on the language system, should be distinguished from violations of the usual word order in the speech of foreign characters. Such violations are used, for example, by E. Forster, E. Hemingway, A. Wesker and many other authors in speech characteristics. It should be noted that by using such violations of word order, the authors, of course, pursue the goal of either emphasizing that they are acceptable in the speech of foreigners (since a person who does not speak his native language one way or another makes mistakes in speech, projecting the rules of his native language to a foreign language or is simply not literate enough in it), or to highlight some stylistic device, or the authors do this to introduce irony into their work, trying to create a funny effect, etc.

CONCLUSION

The term “inversion” should be understood not only as permutations within the predicative core, but also as permutations of secondary members of the sentence, since both functionally and in the English word order system they have the same syntactic properties.

Based on the analysis of the phenomenon of inversion, analysis of the fixed reverse word order and cases of stylistic inversion, we consider it necessary to draw the following conclusions:

1. Linguistic expressive information is understood as information about the expressive qualities of the language itself, i.e., about the special expressive power of linguistic means. Without a doubt, it can be argued that language has its own means of expressiveness and they have expressive semantics.

2. Syntactic (grammatical) inversion - a whole system of patterns of word arrangement in an English sentence. It is opposed to the dominant word order in English. In addition, inversion does not include cases of free position of some elements of a sentence (for example, circumstances - determinants).

3. The main functions of inversion are additional emphasis on actual division, emphasis on semi-predicative relations, linking a number of statements into a supra-phrase unity. The implementation of these functions is closely related to the fact that during the inversion process the inverted member is highlighted (sometimes along with some other member) with logical stress. On the contrary, the free movement of members that does not carry semantic-distinguishing functions (rearrangement of determinants) is not associated with the transfer of logical emphasis to them.

4. For the subject, predicate (its parts), additions, definitions, any realized deviation from the direct and “reverse fixed” model is a stylistic (emphatic) inversion. In many types of circumstances, the same position can be considered as free and as inversion.

Some changes in word order change syntactic relationships, and with them the entire meaning of the sentence, others combine grammatical and expressive functions.

Changes in the order of words are also possible, which do not change the grammatical meaning and are not associated with expressiveness or emotionality, but have a functional and stylistic connotation. For example, the postposition of an adjective in prose gives the style solemnity, elation, or musicality.

5. The expressive or functional-stylistic coloring of inversion is characteristic primarily of prose, since in poetry the order of words is subject to the rhythmic-intonation structure of the verse, and the arrangement of the components of syntactic structures is relatively free.

Both grammatical cases of violation of the usual (fixed) word order (syntactic inversion), and cases of stylistic inversion, also considered in this work, are an interesting object of study for a person learning a language, as they significantly expand the capabilities of the speaker, helping to achieve many goals of his utterance , and the listener (or reader), helping to understand the true meaning of speech (text). The use of one or another word order either draws the listener’s attention to some circumstance of particular importance, or shows the swiftness of actions, or creates irony in a sentence, or indicates the emotional state of the speaker, etc.

BIBLIOGRAPHY

1. Arnold I.V. Stylistics of modern English. - M., "Enlightenment", 1990.

2. Akhmanova O.S. Dictionary of linguistic terms. - M., 1969.

3. Ivanova I.P. and others. Theoretical grammar of modern English. - M.: Higher School, 1981.

4. Ilyish B.A. The structure of modern English. - L.: Education, 1971.

5. Irteneva N.F. Grammar of modern English. - M., 1956.

6. Kaushanskaya V.L. English grammar. - L.: Education, 1967.

7. Kobrina N.A. English grammar (syntax). - M.: Education, 1986.

8. Smirnitsky A.I. Syntax of the English language. - M., 1957.

9. Smirnova N.F. About the order of words and the order of members of a sentence. In the book: Scientific notes, vol. 361, LG11I im. Herzen. Questions of syntax of the English language, L., 1967.

10. Steblin-Kamensky M.I. Structural syntax of the English language.-L.: Leningrad State University, 1972.

11. Chomsky N. Syntactic structures. Sat. "New in Linguistics", vol. P.-M., 1962.

12. Shevyakova V.E. Actual division of the proposal. - M., 1976.

13. Close R.A. A Reference Grammar for Students of English, "Prosvesheniye", M., 1979.

14. Jacobson S. Adverbial Positions in English, diss. Uppsala, 1964.

15. O"Connel S. First Certificate, Longman, Harlow, 1996.

LIST OF FICTION

1. Maltz A. The Cross and the Arrow. - L. - 1963.

2. Osborne J. The Entertainer. - L. - 1963.

3. Aldington R. Death of a Hero. - Moscow, 1950.

4. Carroll L. Alice's Adventures in Wonderland and Through the Looking Glass. - GB, Puffin Books, 1976. - 351p.

5. Byron G.G. Selection from Byron. - M., 1979.

7. Thackeray W. Vanity Fair. An Anthology of English Literature.L.-1938.-181p.

8. London J. Marten Eden. L., 1970

9. Dreiser Th. Jenny Gerhard. M., 1980.

10. Eliot T.S. The Love Song of Alfred Prufrock. M., 1990.

11. Dickens Ch. Oliver Twist. L., 1956.

12. Mansfield K. The Lady's Maid. -M., 1980.

13. Priestley J.B. Dangerous Corner. M., 1972.

14. Lawrence D.H. Don"t"s.M., 1980.

15. Greene Gr. End of the Affair. M., 1957.

Inversion is a change in the usual order of individual parts of the whole. The term itself comes from the Latin inversio, translated as “turning over”, “rearrangement”. It is widely used in various fields of knowledge.

The ambiguity of the term “inversion”

From the point of view of psychology, inversion is a violation of the normal, i.e. generally accepted, order of mental processes. It can affect the sphere of behavior, motives, reactions, etc. The term was introduced into scientific circulation at the end of the 19th century, a little later Z. Freud applied it to the field of sexology, calling non-traditional orientation inversion.

Mathematicians also put their own meaning into the concept of “inversion”. For them, this is a special kind of mapping space or a separate plane using inverse radii.

In biology, this term refers to mutations in which a section of a chromosome is separated from the chromosomal chain, turns 180 degrees and returns to its original place.

The list of meanings could go on and on. Sociologists, doctors, philosophers, physicists, and musicians put their own meaning into this term. But perhaps it is most popular among linguists and literary critics.

Inversion in philology

In linguistics, inversion is a conscious change in the order of words familiar to everyday speech. Russian belongs to a group of languages ​​in which word order is conditionally free. This means that the members of a sentence can stand in different positions, but the overall meaning of the statement or its emotional coloring depends on the place they occupy.

It has been observed that the reader's attention is concentrated mainly on the first and last words in a sentence. Poets and writers began to use this, achieving, by changing the order of words, increasing the expressiveness and artistic imagery of their works.

Types of inversions

Depending on which member of the sentence changes its place, there are different types of such a technique as inversion. Examples can be seen in the table:

Inversion functions

Let's try to figure out why inversion is needed. The first, most logical answer is to draw the reader’s attention to a word or group of words that is important from the author’s point of view. Thus, according to one researcher, the inversion in the first phrase of “The Queen of Spades” by A.S. Pushkin has a meaning-forming meaning; it immediately makes it clear what the work will be about. The phrase goes like this: “Once we were playing cards with the horse guard Narumov.” The rearrangement of the word “maps” into the center of the sentence gives it a touch of significance; at the same time, the name of the Horse Guardsman, in whose house the action begins, also attracts attention.

The second purpose of the inversion technique is to increase emotionality and expression of statements. Let us compare, for example, two sentences: “The weather was fine” and “The weather was fine.” The first statement has a calm narrative character, the second expresses the speaker’s excitement. This effect is achieved by inverting the definition.

There is another, more practical, “sounding” goal. Inversion in a poem can be used solely to maintain rhythm and rhyme. Recently, there have been many inversions of this kind in the works of amateur poets; among the classics they often have a semantic meaning.

Inversion. Examples from Russian classics

Let's try to verify the above conclusions in practice. It would not be an exaggeration to say that the technique in question is used in literature all the time. There are indeed many inversions in the works of Russian poets. Let's look at some examples.

The inversion of the addition is contained in the verses of A.S. Pushkin: “Love, hope, quiet glory / Deception did not endure us for long.” The author deliberately pushes aside the subject “deception” (which has a negative connotation) and brings to the fore words that give rise to positive emotions (love, hope, glory). This makes the reader experience those feelings that disturb him - disappointment, unjustified expectations.

An excellent example of the inversion of a predicate is the lines of Sergei Yesenin: “The night is dreaming. People have fallen asleep, / Only I am tormented by melancholy.” Here, the phrase describing the state of the lyrical hero contains the usual word order, and in those that describe the outside world (night, other people), inversion is used. This technique emphasizes the hero’s alienation.

The inversion of the circumstance of the manner of action is present in the first line of the poem by M.Yu. Lermontov’s “Duma”: “I look sadly at our generation.” The word “sad”, brought to the fore, sets the tone of the work, to which the author remains faithful to the end.